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by Timothy M. Costelloe

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Timothy M. Costelloe
Cambridge University Press; 1 edition (July 30, 2012)
318 pages
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Costelloe has put together this wide-ranging book of essays on the sublime in an attempt to. .Costelloe, Timothy . he British Aesthetic Tradition: From Shaftesbury to eCambridge University Press

Costelloe, Timothy . he British Aesthetic Tradition: From Shaftesbury to eCambridge University Press. Croce, BenedettoThe Aesthetic as the Science of Expression and of the Linguistic in GeneralLyas, dge University Press 1992. Crockett, ClaytonA Theology of the SublimeNew YorkRoutledge 2001.

This volume offers readers a unique and comprehensive overview of theoretical. Details (if other): Cancel. Thanks for telling us about the problem.

Timothy M. Costelloe. This volume offers readers a unique and comprehensive overview of theoretical perspectives on 'the sublime', the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them

Timothy M. This volume offers readers a unique and comprehensive overview of theoretical perspectives on 'the sublime', the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them. Machine generated contents note: 'The sublime' And the. Machine generated contents note: 'The sublime' And the beautiful? revisiting Edmund Burke's 'double aesthetics' Rodolphe Gasche; 3. The moral source of the Kantian sublime Melissa Meritt; 4. Imagination and internal sense: the sublime in Shaftesbury, Reid, Addison, and Reynolds Timothy M. Costelloe; 5. The associative sublime: Kames, Gerrard, Alison, and Stewart Rachel Zuckert; 6. The &. Costelloe is Associate Professor of Philosophy at the College of William and Mary. He is the author of Aesthetics and Morals in the Philosophy of David Hume (2008) and The British Aesthetic Tradition (Cambridge University Press, forthcoming).

The sublime has fascinated the Western world since Boileau’s translation of Longinus’ De Sublimitate in 1674. After Costelloe’s Short Introduction to a Long History, the book is divided into two parts: Philosophical History of the Sublime and Disciplinary and Other Perspectives. It was Boileau who gave the grammatical eccentricity of the sublime its vernacular existence.

The Sublime by Costelloe, Timothy M. and Publisher Cambridge University Press. Save up to 80% by choosing the eTextbook option for ISBN: 9781107298668, 1107298660. By: Costelloe, Timothy M. Publisher: Cambridge University Press. The print version of this textbook is ISBN: 9780521194372, 0521194377. Print ISBN: 9780521194372, 0521194377.

Contributors from William & Mary included Adam Potkay, professor of English (center), and Chandos Brown, associate professor of history and American studies. Essays explore the noumenal experience over the ages. by Justine Whelan ’14. If you were to stand at the edge of the Grand Canyon, or observe the Mona Lisa in real life at the Louvre, you might be lucky enough to experience what Timothy Costelloe calls the Sublime-but only if the experience is literally awesome.

Professor of Philosophy Timothy M Costelloe. Part Two explores the sublime with respect to particular disciplines and areas of study, including Dutch literature, early modern America, the environment, religion, British Romanticism, the fine arts, and architecture.

This superb holiday gift is a collection of outstanding essays that will set the agenda for future studies of the sublime. It will be a valuable resource to anyone interested in assessing the historical importance of the concept of the sublime. There is no other book as systematic and wide-ranging as this one on the subject.
  • Malien
Philosophers from Longinus to the postmoderns have tried to answer this question. It has been defined as inherent in the object, or in the mind and reactions of the observer. It has been seen in nature, art and oratory. Some of the best philosophical minds, Kant, Burke, Hegel, and others have tried to define it. This book brings together a collection of essays that shows the breadth of the concept.

The first chapters of the book present the philosophical discussions on the subject. I was fascinated by Longinus' treatment. I'd read the Greek philosophers, but was unfamiliar with his work. The collection of essays gives a broad overview of the changing concept of the sublime giving the reader access to the entire historical perspective in one volume.

The second section of the book is a series of essays on particular aspects of the sublime ranging from religious perspectives, architecture, American understanding, Dutch literature and the fine arts. Each author brings a slightly different perspective. I found each one fascinating, but my favorite was architecture. I found the following story very descriptive of the idea of the sublime experience. Boulee wanted to place Newton's sarcophagus at the bottom of a dome pricked with holes so the light could shine through like twinkling stars. Thus the viewer could experience the quintessential sublime scene in the presence of Newton's body. This story relates the concept of the sublime to infinity and the intense feeling produced by being in the present of the sublime.

For anyone interested in the concept of the sublime, this is an excellent book because it presents so many diverse philosophical and practical discussions. It's very readable. Each chapter in addition to the philosophical perspectives presents illustrations of the sublime. I particularly enjoyed the concrete discussions relating the concept to art, architecture and nature. It's an excellent choice for both specialists and for readers simply interested in the concept. I highly recommend it.
  • FailCrew
The sublime, with the feelings of awe, terror, and majesty it evokes, has long been a subject of philosophical and artistic reflection. This recent book from Cambridge University Press, "The Sublime: From Antiquity to the Present"(2012) consists of fifteen new scholarly essays on the philosophical history of the sublime and on perspectives on the sublime from various disciplines. The volume originated in a seminar "Aesthetics of the Scottish Enlightenment and Beyond" held in 2007 at St. Andrews University,Scotland. Timothy Costelloe, Associate Professor of Philosophy at the College of William and Mary, edited the volume and contributed one of the essays.

Discussions of the sublime focus on three figures. The first is the ancient philosopher Longinus who wrote a treatise on the sublime in either the first or third century A.D. (Scholars are unsure about the time.) Longinus tended to see the sublime primarily as a high, elevated literary style. Many centuries later, the British philosopher and political thinker Edmund Burke wrote an important book on the sublime, in which he contrasted it with the beautiful. Burke viewed the sublime empirically and psychologically. Then the great philosopher Immanuel Kant, influenced by Burke, developed his own view of the sublime both in his early writings and in his late work the "Critique of Judgment". The sublime plays an important role in the edifice of Kant's critical philosophy. The interplay of the work of these three thinkers on the sublime is an important theme of this volume.

The book is divided into two parts. Part One, titled "A Philosophical History of the Sublime" begins with three separate essays on Longinus, Burke, and Kant. These essays will be of basic interest to readers new to the subject. The remaining five essays in this part cover other more specialized terrain. There are two essays on other British authors in addition to Burke and on their competing understandings of the sublime. The first modern translation of Longinus took place in pre-Revolutionary France, and an essay explores the appearance of the sublime in French art and letters prior to the historical translation. An essay by Paul Guyer explores the sublime in German philosophy following Kant, while the final essay in this part discusses postmodern attempts to understand the sublime.

Part two of the book, "Disciplinary and Other Perspectives" includes some additional philosophical history in its seven essays while examining as well how the sublime has been reflected in various types of endeavor. The opening essay explores how the sublime was reflected in Dutch art and thought. This was a fascinating essay on thinkers that most readers are likely to find entirely unfamiliar. An essay "The First American Sublime" discusses figures such as Thomas Jefferson, James Bartram, Thomas Cole, Fennimore Cooper, among others. The next two essays, "The Environmental Sublime" and "Religion and the Sublime" offer good introductory overviews, or reviews, of the history of the sublime and discuss well the importance of the sublime to their respective subjects, environmental studies and religion. The final three essays cover the sublime in British Romantic poetry, with specific attention to Wordsworth and Bryon, the sublime in the fine arts, particularly music, and the sublime in architecture.

This volume has its strengths and its weaknesses. On a technical level, the print is small, crammed tightly on the page and difficult to read at long stretches. The essays vary in quality and in readability, as is the case in almost any anthology. In the "Acknowledgements" with which the book opens,Costelloe writes: "Whether the chapters bear any marks of the great sublime they draw is for the reader to decide." Too many of the essays here are dry and overly pedantic, at least for lay readers. They are difficult and not particularly well written at times. They stimulate only with difficulty and in part the thought and further reflection the book wants to encourage.

The essays are also scholarly, well-documented and informative. On reading the book, I found I knew more about the sublime and its history than I did before I began. For readers wanting to learn, perseverance is rewarded. The essays of Longinus, Burke, and Kant, and some of the essays in Part Two were relatively accessible and helped my understanding. I was also pleased to see a book of this scholarly caliber offered through the Vine program. The audience for this book is limited at best.

Thus, even though not entirely successful, this book deserves respect. I would not have read the book without the incentive offered by the Vine program. I learned something of the uses of the sublime, which had been before a gap in my philosophical background. Readers with a strong interest and background in philosophy and in aesthetics will likely benefit from this book.

Robin Friedman